Village Voice's Scores

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For 11,162 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Hooligan Sparrow
Lowest review score: 0 Followers
Score distribution:
  1. Positive: 4,708 out of 11162
  2. Mixed: 4,553 out of 11162
  3. Negative: 1,901 out of 11162
11162 movie reviews
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  1. A Royal Night Out
    The film relies heavily on the coltish charms of its young leads, and Powley's effervescent, well-timed performance as the younger princess (she calls herself "P2") is skillful enough to bring out the screwball latencies in an otherwise bland screenplay.
  2. Les Coquillettes
    Letourneur captures film fests' buzz of self-congratulatory promiscuity but never makes the many parties and mishaps compelling.
    • 58 Metascore
    • 60 Critic Score
    Let's Scare Jessica to Death
    If for nothing else, Jessica is worth seeing for the presence of Zohra Lampert, and intelligent actress whose talent has somehow never been sufficiently appreciated. [14 Oct 1971, p.75]
    • Village Voice
  4. Everything Is Illuminated
    Foer's ironic ideas have a lovely roundness to them, and somehow the film achieves Holocaust-fiction balance without much ado or melodrama. It may be substantially less ambitious than its source material, but that may be what saves it from implosion.
    • 58 Metascore
    • 30 Critic Score
    Emile
    Odd beginning permits viewers to leave after five minutes and know what happens. Those remaining are left with the full tome, its 92-minute length hiding an experience as draining as "Heaven's Gate."
    • 58 Metascore
    • 60 Critic Score
    Felon
    Harold Perrineau gives unintentionally comic expression in Felon to the delineation between his character's public and private scruples.
  7. The Invention of Lying
    Lying brushes more big ideas than commonplace comedies, but hasn't taken those ideas through enough drafts to work out their implications or--harder still--make them killingly funny.
  8. Storm
    The writing by director Hans-Christian Schmid (Requiem) and Bernd Lange is more stilted and righteous than even the U.N. environs, with its humanity-embracing procedural-speak, calls for.
  9. The Yards
    Gray's brand of film-buffery manifests itself, simply and irresistibly, as ardent, uncynical movie love.
  10. The Holy Land
    This broadly acted first feature is exceedingly direct, appropriately sordid, and at times, almost delicate.
  11. Free Radicals
    An intelligent, viscerally intellectual exercise in ensemble acting and associative montage, enlivened with some terrific visual and dramatic ideas.
  12. The Lords of Salem
    The movie is eerily photographed (by Brandon Trost), but never suspenseful or scary, and eventually, events descend into goat-sacrificing silliness.
  13. Renaissance
    For a little while, the film is dazzling. Then it's dizzying. Then it's just kind of . . . wearying. That's not because it's in black-and-white; so was "Sin City". There's just something terribly, tragically dull about Renaissance.
  14. All Good Things
    All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
  15. One More Time
    The characters are overburdened by backstories that constrict rather than inform their behavior.
  16. Special
    All that's left then is a miserablist analogue to M. Night Shyamalan's "Unbreakable," a sad portrait of paranoid delusion with wipe-out stunts played for the comic wincing of "Jackass."
  17. Summer of 84
    If you’re patient, though, and not put off by the familiarity of this material, Summer of ’84 gains in interest and urgency as it goes.
  18. It's a Disaster
    The story's outline may be familiar, but its emphasis and quality are not.
  19. The Patsy
    Considerably weaker than The Nutty Professor. [10 Sep 1964, p.17]
    • Village Voice
  20. Chelsea on the Rocks
    Chelsea rambles--and in a way that makes you want to move down the bar.
  21. Flawless
    Flawless is the sort of movie that tends to get called "enjoyably old-fashioned," except that there's nothing enjoyable about it. The pacing is torpid, the plotting slack, and the performances utterly joyless--chiefly Moore, who walks through every scene with her face stretched into an expressionless mask, her lips pressed into a permanent pout.
  22. Eddie: The Sleepwalking Cannibal
    While secret handshakes are amusingly depicted as the key to building trust and friendship, it's Stephen McHattie's greedy agent...that truly hammers home the film's depiction of the art world as fueled by rapacious, kill-or-be-killed bloodlust.
  23. Terraferma
    It's all very predictable, very Hollywood. Storytelling cliché, it would seem, knows no borders.
  24. Daybreakers
    Wearisome "Ain't it cool?" video-game splatter-violence is all that's memorable of the action, while a (mixed) metaphorical subtext of conservationism can't save a text that squanders its actors.
    • 57 Metascore
    • 60 Critic Score
    Trishna
    In the hands of Winterbottom, who has frequently shown a knack for infusing red flag sex with dread without sapping it of sexiness, the master-slave dialectic is made grossly, appropriately literal. The dialectic itself is never discussed.
  26. Lila Says
    A misguided tale of sentimental education.
  27. The Cured
    Even though The Cured doesn’t quite excel at being both terrifying and thought-provoking, at least it gave Juno the opportunity to become a horror hero.
  28. Severe Clear
    A potent reminder of how thankless a soldier's job is.
    • 57 Metascore
    • 60 Critic Score
    You All Are Captains
    When onscreen Laxe loses control of the film-within-the-film, off-screen Laxe's voice is subsumed into dreamily beautiful footage following a "script" laid out earlier by the kids. Or so it seems - by that point, we've seen enough of Laxe's brilliantly constructed deconstruction of "truth" versus "fiction" to know to question the authorship of every frame.
  30. R100
    You'd expect more yucks from the country that bequeathed tentacle porn unto the world.
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